Study in three phases: An Adaptive Sound Installation

The Theoretical Background for the Chinese Composers Piano Music Genre Peculiarities Research

With its own unique musical vocabulary oundscape composition has been unprecedently developed all over the world. The analysis of music s from the perspective of acoustics has its own advantages that cannot be replaced by the traditional musicology. Based on music named Dayb for a hope to overcome COVID-19, this paper analyzes the acoustic elements of , frequency spectrum and waveform. Combined with the traditional musicology, it can show that the undulation of waveform has associated with the formal structure and the visualization of music. The frequency spectrum shows that as the climax of the piece, the sound has a high energy in the range of 300-1000Hz, which is one of the extremely sensitive frequency ranges for human. The composer not only skillfully integrates the chanting of monks with the complex environmental sounds, but also reflects the innovative composition skills. The change of from weak to strong or contrarily is also in line with the emotional expression, that is, the core idea of moving from nature to nature. Since soundscape c retains more information, it is easier to immerse the audience in the listening process and appreciate the beautiful hope rather than the difficulty of understanding it.

This is the introductory chapter of a book dedicated to new research in, and emerging new understandings of, music and human-computer interaction—known for short as music interaction. Music interaction research plays a key role in innovative approaches to diverse musical activities, including performance, composition, education, analysis, production and collaborative music making. Music interaction is pivotal in new research directions in a range of activities, including audience participation, interaction between music and dancers, tools for algorithmic music, music video games, audio games, turntablism and live coding. More generally, music provides a powerful source of challenges and new ideas for human-computer interaction (HCI). This introductory chapter reviews the relationship between music and human-computer interaction and outlines research themes and issues that emerge from the collected work of researchers and practitioners in this book.

Music has the unrivalled ability to elicit emotions and change human experiences. This study explores the complex interaction between music composition, attendance behaviour, and mood during musical events. Music’s significant effect on human emotions has been the focus of much study and intrigue. Music composers use the emotional power of music to elicit profound reactions from their audiences. In the context of soundtracks, this study explores the complex link between music creators and listeners’ emotions. This study investigates the methods, plans, and underlying psychological processes that composers use to affect the emotional states of their audience by carefully examining previous research and studies on music, emotion, and soundtracks. The study’s methodology is based on an extensive literature assessment, empirical investigations, and theoretical frameworks exploring the mutual relationship between music and emotion. It examines how different musical components, including instrumentation, rhythm, melody, and harmony, can influence listeners’ emotions over time. Furthermore, the study explores how the musical element interacts with contextual factors in cinematic narratives and visual cues to enhance emotional engagement. The study’s findings demonstrate how emotions and music interact with soundtracks. Composers utilize various strategies to alter and shape the listener’s emotions to fit music to the intended emotional arc of the lyrics, pitch, storyline, and melodies. This study synthesizes the plethora of data and ideas from studies on music, emotion, and soundtrack to further the understanding of the complicated relationship between music and emotion. It also highlights the artistic and mental prowess of composers who employ music as a powerful instrument to evoke intense emotional reactions in their listeners. By shedding further light on the impact composers have on the emotional landscape of music and the cinematic experience, this study contributes to the ongoing discussion regarding the art and science of music composition and how it impacts audience emotion.

he demand for Baroque music on the concert stage sets high requirements for singers in terms of the performance style. At present, the issues of reproducing vocal ornamentation in ancient arias are the primary tasks. Given the lack of knowledge and skills of baroque improvisation among Russian singers, the ornamentation used often represents, in fact, only a technical aspect that the soloists are diligently trying to cope with. At the same time, ornaments often sound "empty", not expressive, not corresponding to the main purpose which is to emphasise affect. According to the instructions of the 17th century masters, the main purpose of performing music was to show the passions of the human soul. The singers’ fundamental task was to maximise the impact on the listener’s feelings and to awake affects in them through an intoned word. As a vivid expressive means, ornamentation contributed to the emphasis of certain words in the general context. Moreover, according to the instructions of teachers from the past, singers needed to convey one or another affect with the appropriate intonation of the voice. The artistic function of ornaments came down to increasing the level of performance expressiveness. Various ornamentation (melismas and passages) had to be used purely to enhance the musical statement. The proposed article is aimed at solving actual problems in the field of Baroque performance, problems related to the correct interpretation and performance of vocal ornaments in 17th century works. The historicism principle is the methodological basis of the work. Using the methods of analysis and synthesis, as well as the cultural and historical method of research, the author managed to recreate the historical significance of the ornament in connection with the opera traditions of the 17th century. The author's position is that for a singer, it is important to understand the figurative and expressive functions of any type of ornamentation (melismas, passages) as one of the main means of expression, contributing to revealing the composition affect, which presents scientific novelty and is the main conclusion of the article. The content and conclusions of the article will be useful to musicians, singers performing 17th century compositions for their stylistically correct interpretation, as well as in training courses on the history of vocal performance and stylistics at Performing Arts departments of music colleges and university faculties.

Though the music produced by an ensemble is influenced by multiple factors, including musical genre, musician skill, and individual interpretation, rhythmic synchronization is at the foundation of musical interaction. Here, we study the statistical nature of the mutual interaction between two humans synchronizing rhythms. We find that the interbeat intervals of both laypeople and professional musicians exhibit scale-free (power law) cross-correlations. Surprisingly, the next beat to be played by one person is dependent on the entire history of the other person's interbeat intervals on timescales up to several minutes. To understand this finding, we propose a general stochastic model for mutually interacting complex systems, which suggests a physiologically motivated explanation for the occurrence of scale-free cross-correlations. We show that the observed long-term memory phenomenon in rhythmic synchronization can be imitated by fractal coupling of separately recorded or synthesized audio tracks and thus applied in electronic music. Though this study provides an understanding of fundamental characteristics of timing and synchronization at the interbrain level, the mutually interacting complex systems model may also be applied to study the dynamics of other complex systems where scale-free cross-correlations have been observed, including econophysics, physiological time series, and collective behavior of animal flocks.

The presented article “The importance of Hearsay for investigative bodies and its evidential power in court” discusses Hearsay as a secondary (produced) evidence and the criterion of its admissibility in criminal proceedings. The main danger of using hearsay as evidence is the possibility of substantial distortion and alteration when it is mediated by different velocity ratios. The author focuses on the legal basis of Hearsay. Testimonies are classified and their forms, mechanisms of production and standards are discussed in a comparative-legal context. The article includes an overview and analysis of the Georgian model of Hearsay. There is discussed Georgian experience in the legal context from the dissemination of Hearsay to the present day, the peculiarities and main features of the Georgian model are evaluated. The content, technical, and legal aspects of the work are also discussed. There are discussed problems that exist in terms of legal and legislative techniques and possible ways to solve them. The purpose of this article is to analyze common Hearsay models, review and generalize these legal aspects, develop better and more substantively appropriate methods, and research legal forms of Hearsay in order to identify the main mechanisms that can be received and adapted in Georgian reality. The research is mainly based on comparative-legal methodology, analytical, historical, descriptive, hermeneutic and other scientific methods. Based on the methodological research, the existing scientific literature, legal acts and case law will be studied in the practical field. The case law of the Georgian Common and Constitutional Court, the European Court of Justice, and numerous significant US Supreme Courts should be developed, as this may be the most effective strategy to better regulate and resolve problems in Georgia. The present article includes a historical overview of indirect testimony highlighting the first recognition of the need for indirect testimony in England and its recognition as admissible evidence. The evolution of this component of law, its need and role in the Georgian criminal justice system are also assessed. The decisions of the Constitutional Court of 22 January 2015 and 25 December 2020, which defined the constitutionality of indirect Chen as evidence-based norms of admissibility, play an important role. The practice of the German Federal Constitutional Court, where there are many years of practice on the use of indirect chen and its significance, should also be considered. In this article, the author reviews the approach of the common courts regarding the use of indirect testimony in Georgia, with a focus on the legislation of European countries and the assessment of existing practices. The European Court of Human Rights has a relatively flexible approach to the issue, setting a certain standard in one of the cases mentioned in the article. Despite the different approaches, it is a fact that most states try to make the institution of indirect censorship more flexible and sophisticated so that the core values necessary in the administration of criminal justice are not jeopardized, the interests of the parties are protected and the situation is objectively assessed. In conclusion, the article summarizes the main challenges and problems related to indirect testimony in criminal law. We are talking about the importance of implementing the decision made by the Constitutional Court in practice. Gathering the author's position on the different approaches in different countries, the author develops an opinion on the admissibility of indirect testimony as an exception. The aim of the paper is to analyze the common models of indirect testimony, to review and generalize these legal aspects, to develop better and more substantively adequate methods, to study the legal forms of indirect testimony in order to identify the main mechanisms that can be received and adapted in Georgian reality.

Pianos: Playing, Value, and Augmentation

ABSTRACTElectronic and digital technologies open immense opportunities for music composition, listening, interaction, and participation. However, at the same time, they critically challenge some of the most basic principles that drive human engagement and interaction with music. This article first presents a theoretical discussion of two of these principles, namely sensorimotor control and participatory sense-making. Thereafter, it presents SoundBikes, a music installation that implements these theoretical considerations. SoundBikes is rooted in the idea that collective music-making is a form of participatory sense-making that emerges from embodied, dynamical and collaborative interactions between co-performers. The core components of SoundBikes include an EMS Synthi 100 and two stationary bikes equipped with sensors. To stimulate social interaction and collaboration between cyclist-performers, we designed SoundBikes in a way that performers could exert control over expressive features in the playback of music compositions, by coordinating their (cycling) movements with one another. This functionality is integrated in a gameplay—to further stimulate social collaboration and competition—and a visually attractive environment—to provide visual feedback and to create ambiance.

A common framework for studying perception and performance in both human-technology interaction and music is presented. The framework represents the cognitive challenges faced by both musicians and human operators in technological systems. In the perceptual realm, both must infer distal or covert states from proximally available information (e.g., inferring the emotional meaning of a musical composition; inferring the functional meaning of interface displays). In the realm of action, both must select proximally available actions, or means, to achieve distal ends or goals (e.g., a conductor using hand movements to direct an orchestra, an operator using interface controls to tune an industrial process or respond to a fault). The framework represents these proximal-distal relations and enables quantitative measurement of the degree to which performers adapt to them. The framework is illustrated with a review of music and human-technology interaction research and our own study of the coordination between a professional conductor's hand movements and a concertmaster's bowing actions in the opening of Beethoven's Fifth Symphony. In providing a common theoretical framework for both music and engineering, we hope to enhance prospects for research on group musical performance to inspire novel, robust design models for modern sociotechnical systems.

This workshop was held at Hebei Normal University in China, and contributed to the PAGES Focus 4 theme Land Use and Cover (LUC). A major goal of LUC is to achieve Holocene land-cover reconstructions that can be used for climate modeling and testing hypotheses on past and future effects of anthropogenic land cover on climate. Collaborations initiated between Linnaeus University (Sweden; M.-J Gaillard), University of Hull (Britain, Jane Bunting), Hebei Normal University (China; Q. Xu and Y. Li), the French Institute (Pondicherry, India; A Krishnamurthy) and Lucknow University (India; P. Singh Ranhotra) are in line with the goals of Focus 4-LUC and follow the strategy of the European LUC-relevant LANDCLIM project (Gaillard et al. 2010). The aim of these collaborations is to develop quantitative reconstructions of past vegetation cover in India and China using pollen-vegetation modeling and archaeological/historical data together with other land-cover modelling approaches. The objective of this workshop in China was to initiate the necessary collaborations and activities to make past land-cover reconstructions possible in Eastern Asia. The three major outcomes of the workshop are (i) the building of a large network of experts from Eastern Asia, Europe and USA now working together to understand past changes in land use and land cover in Eastern Asia, (ii) that all existing East Asian pollen databases will be integrated into the NEOTOMA Paleoecology Database by 2014 (coordinated by Eric Grimm, Illinois State University, USA), and (iii) that a review paper will be prepared with the working title “Past land-use and anthropogenic land-cover change in Eastern Asia evaluation of current achievements, potentials and limitations, and future avenues”. It is planned to submit this article this fall. It will include 1) a review of Holocene human-induced vegetation and land-use changes in Eastern Asia based on results presented at the workshop; 2) a discussion of the existing anthropogenic land-cover change scenarios (HYDE, Klein Goldewijk et al. 2010; KK 10, Kaplan et al. 2009) in the light of the reviewed proxy-based knowledge; and 3) a discussion on the implications of these results for future climate modeling and the study of past land cover-climate interactions. These significant outcomes are the result of three intense days of presentations and discussion sessions. During the lectures, results were presented for historical, paleoecological and pollenbased reconstructions; pollen-vegetation relationships; past human-impact studies; and model scenarios of anthropogenic land-cover changes in the past. Some of the conference was also dedicated to reviewing the state of existing pollen databases and more generally, database building. Plenary and group break-out discussions focused on more technical aspects such as improving pollen databases, especially for the East Asian region; planning the review paper; and scientific topics such as the use of pollen-based and historical land-cover reconstructions for the evaluation of model scenarios of past anthropogenic land-cover change (Fig. 1), and the integration of model scenarios with paleoecological or historical reconstructions.

Around Device Interaction (ADI) has expanded the interaction space on mobile devices to allow 3D gesture interaction around the device. In this paper, the authors look specifically at magnet-based ADI and its applied use in a playful, music-related context. Using three musical applications developed under the magnet-based ADI paradigm (Air Disc-Jockey, Air Guitar, Air GuitaRhythm), the authors investigate whether the magnet-based ADI paradigm can be effectively used to support playful music composition and gaming on mobile devices. Based on results from a controlled user study (usability and user experience questionnaire responses, users’ direct feedback, and video observations), the authors 1) showed how magnet-based ADI can be effectively used to create natural, playful and creative mobile music interactions amongst both musically-trained and non-musically trained users and 2) distilled magnet-based ADI design considerations to optimize playful and creative music interactions in today’s smartphones.

In Treatise Handbook, Cornelius Cardew noted that “[musical] notation is a way of making people move” [1]. This paper describes and demonstrates new methods for the dynamic generation and display of augmented musical notation. The Fluxus Tree and Quantum Canticorum are the most recent in a sequence of musical compositions by the author in which dance and music interact using body-tracking technologies and bespoke sensing devices. Movement is converted into data which trigger and modulate expressive algorithms. Uniquely, these generate in real-time audio material as well as detailed common practice music notation to be performed live. Other techniques allow for the conversion from (and potentially to) graphic images and text. This paper demonstrates the techniques behind these inventions and explains how such techniques may be used to enhance the musical experience of performers and audiences. Quantum Canticorum is based on a sequence originally commissioned for Quantum, an Arts Council UK funded project led by Jane Turner of the Turning Worlds dance company.

In recent years, the benefits of social interaction have been recognised in learning and working environments, the impact of social support on individual confidence and creativity being widely reported. In many domains including music, ability, personality, gender and friendship relationships have been identified as influencing the success or failure of group interactions. Despite the assumption in educational practice that group work can improve individuals' performance, however, social facilitation literature indicates the presence of others can sometimes be a hindrance (Hunt & Hillery, 1973). The main aim of the current paper is to investigate how various groupings of individuals (here, children) influenced creative musical tasks. In particular, friendship as opposed to random, single and both male and female sex groups were contrasted. It was hypothesised that quality of musical outcome would be influenced to some degree by the standard of social interaction and thus impact on individual sense of self within the task context. Fifty-nine children aged 11 participated in the study. All sessions were video-recorded. A researcher and class teachers observed the children's musical interactions using a check-list and a detailed structured questionnaire to guide observations whilst the children worked in groups of six participants in the following configurations: Randomly assigned, friendship based single and both sex, non-friendship based single and both sex. In each context, the children completed a compositional task, which was then assessed by independent, experienced assessors. The children were all individually questioned post-task about their experiences. The results suggested that social grouping did not influence the standard of the creative product, but it did affect the children's social interaction and thus their personal sense of achievement and enjoyment on task.

With a focus on producing a new AI-based filmmaking platform, this study explores the revolutionary impact of AI on the film industry. Because of how movies are envisioned, made, and seen, it is drastically shifting due to AI. An in-depth analysis of the emergence and applications of AI in film is provided in this article, with particular attention to how these technologies are incorporated into the screenplay writing, pre-production, cinematography, editing, and visual effects phases of the filmmaking process. It focuses on how blockchain technology is revolutionizing the management of intellectual property and film distribution, how Natural Language Processing (NLP) is automating the drafting of scripts, and how generative AI is producing novel visual styles and narrative structures. AI transforms filmmaking in technical and artistic aspects by increasing production, creating new avenues for creativity, and providing distinctive visual forms. Aside from these important ethical issues, the article also discusses employment displacement, copyright infringement, authorship, creative purpose, and the possibility that AI will reinforce prejudices or preconceptions. A focus on new rules for the moral and responsible use of AI that balance the advantages of automation with the need for human creativity and oversight is placed on the legal advancements governing AI in the film industry. The research also examines how audiences respond to and understand these novel storytelling techniques by contrasting the aesthetics of traditionally made movies with those produced by AI. AI films may need help to retain emotional depth and narrative coherence, even though they frequently use cutting-edge visual effects and interactive storytelling. The study includes case studies and practical scenarios, such as the AI-generated film Sunspring , to interpret the real-world application of AI in filmmaking. Besides, the article extends AI’s role in audio and sound design, highlighting improvements in automated dubbing, sound effects synthesis, and music composition. Our research sheds light on how AI will affect filmmaking in the future, which adds to the larger conversation on the impact of emerging technologies on the creative industries. As the film business develops, AI presents important issues that need to be carefully handled, in addition to the tremendous prospects it gives for innovation and democratization.